The day that Pier Paolo Pasolini was killed, Glauber Rocha decided to make this film about the life of Christ in the Third World. Starting from a dialectical synthesis between capitalism ...
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Period piece about a Brazil that is no more. This movie is the sequel to "God and the Devil in the Land of the Sun" (Deus e o diabo na terra do sol), and takes place 29 years after Antonio ... See full summary »
Maurício do Valle,
Eldorado, a fictitious country in Latin America, is sparkling with the internal struggle for political power. In the eye of this social convulsion, the jaded journalist Paulo Martins ... See full summary »
In the State of Bahia, Brazil, an educated black man returns to his home fishing village to try and free people from mysticism, in particular the Candomblé religion, which he considers a ... See full summary »
Lucy de Carvalho
Fictionalized account of the adventures of hired gunman Antonio das Mortes, set against the real life last days of rural banditism. The movie follows Antonio as he witnesses the descent of ... See full summary »
Geraldo Del Rey,
A Latin-American insurgent and a black leader join forces to free an African nation. But they'll have to face a German mercenary aided by an American agent and a Portuguese advisor, all working for a mysterious woman.
Our story begins with Macunaima's miraculous birth to an old woman in a tiny jungle settlement. Born full grown, he discovers his life's purpose which leads him and his family/followers on ... See full summary »
In a castle, somewhere in the Thirld World, Diaz is delirious, dreaming of the power he had in Eldorado, while oppressing the indians, workers and peasants. He is well aware of the menace ... See full summary »
Rosa Maria Penna
Eduardo Coutinho was filming a movie with the same name in the Northeast of Brazil, in 1964, when there came the military coup. He had to interrupt the project, and came back to it in 1981,... See full summary »
Tite de Lemos,
A poor family in the Northeast of Brazil (Fabiano, the father; Sinhá Vitória, the mother; their 2 children and a dog called Baleia) wander about the barren land searching for a better place... See full summary »
The story of a famous Brazilian criminal, called The Red Light Bandit because he always used a red flashlight to break in the houses during the night. Working alone, he also used to rape his female victims.
A simple yet devout Christian makes a vow to Saint Barbara after she saves his donkey, but everyone he meets seems determined to misunderstand his intentions. Will he be able to keep his promise in the end?
The day that Pier Paolo Pasolini was killed, Glauber Rocha decided to make this film about the life of Christ in the Third World. Starting from a dialectical synthesis between capitalism and socialism, and a search of interracial relationships in Brazil, Rocha created a work of religious and prophetic tone that results in a kind of bewilderment contemplative, now lyrical, now frantic, soaked in a new messianism. In his last film, the director proposed a tune of sounds and images that build a picture of Brazil and a portrait of himself. Written by
Glauber Rocha was once-upon-a-time a very famous man. A key figure in world cinema. Friends with Bernardo Bertolucci, Pier Paolo Pasolini, Jean-Luc Godard, Jean-Marie Straub, an influence on film-makers as diverse as Martin Scorsese, Jonathan Demme, Amos Gitai and countless other film-makers. Today he's practically forgotten by most. His films rarely mounted as a retrospective, inspiring few articles on his rich and complex filmography.
What does it mean to be a fiercely provocative and openly formal film-maker of the "Third World". Most films from this vaguely defined economic sector of the planet that find a Western audience cater to the paternalism of the world hegemony, excorcise liberal guilt and work in schemas every bit as conventional as the worst sitcoms. With Rocha, you get fierce, cutting, vital celebrations of folk poetry, hymns to the landscape of the country that he loves so very much and a challenge to conventional film-making in Brazil and the rest of the world. His career as a film-maker suffered from problems of funding, common enough, and even moreso from the fact that his country underwent a collapse of its democracy which was replaced with a military dictatorship. This led to exile, a stint working underground and in short films.
This context makes THE AGE OF THE EARTH(A IDADE DA TERRA) all the more remarkable for its very existence. It is shot in CinemaScope, 35mm and was expensive and ambitious. It was his last film, he died shortly afterwards and it's perfectly clear from the stunning first take(no titles opening and credits) that he isn't going gently into the night. He's playing for keeps and taking no prisoners. The film's length of 2 and a half hours befits it's truly epic length.
Rocha's style of film-making challenged conventional film-making norms in a way that was totally unique. By no means a minimalist, he created a bold intense style of film-making that featured rich, saturated, loud soundtracks with eclectic music arrangements(cf, the opening of TERRA EM TRANSE) mixed with a tight emphasis on framing and long takes mixed with some of the most intense montage since Sergei Eisenstein's death. Stories matter even less in Rocha than they do in Godard. It's focus is in sculpting a particular vision of landscape, of folk rhythms and rituals.
THE AGE OF THE EARTH begins with a long tracking shot of the sun rising on the President's Palace in Brazil, slowly stretching back, recording the prism effects caused by the reflection of the sun on the lens and then a sharp cut to a rolling sphere("Action" yells Glauber offscreen) and then a frightening close-up on a very ugly mouth that yells, "My mission is to destroy this small, poor, planet earth!" The film then proceeds to a series of episodes that have vague relations to each other(it has been suggested that this film was constructed so that it could be played in any order of reels) yet at the finish of the runtime(there is no end to this picture) it constitutes a clear whole as Rocha creates a testament of his anxieties, fears and mystical visions regarding Brazil - it's various Christs and Satans, the omipresence of Western capitalist interests and a direct statement of Glauber's own political philosophy in his own write and voice.
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